The New York Times' Scores

For 8,987 reviews, this publication has graded:
  • 49% higher than the average critic
  • 4% same as the average critic
  • 47% lower than the average critic
On average, this publication grades 2.2 points lower than other critics. (0-100 point scale)
Average Movie review score: 59
Highest review score: 100 The Queen
Lowest review score: 0 Murder-Set-Pieces
Score distribution:
8,987 movie reviews
  1. CJ7
    A devilishly entertaining curveball thrown at unsuspecting family audiences.
    • 46 Metascore
    • 50 Critic Score
    Except for Ms. Lange’s silent, expressive close-ups, which render flashbacks unnecessary, the women’s journey is aesthetically and dramatically unremarkable.
  2. Tells a colorful if conventional tale of dysfunctional Americans abroad. The misadventures of Jake and Oliver play off against the conflicted sympathies of the locals, who simultaneously resent, enjoy, prosper from and exploit the tourist scene.
  3. Relies less on the novelty of its premise than on the positioning of solid actors in minor roles (including Melissa Leo and Martin Donovan as the tortured parents of a murdered child) and the intelligence of its star.
  4. This odd, unsuccessful movie, written and directed by Piyush Jha, is too rigged to have any broader implications about the bloody standoff in Kashmir between militants and the Indian Army.
  5. The film does a pretty good job of conveying the bleakness and pointlessness Eva and her fellow mutants feel, but it's as if Ms. Trachinger were reluctant to take the premise any deeper for fear of being accused of imitating "Memento" or "Groundhog Day" or any number of other trapped-in-time films.
  6. New Jerusalem feeling like an acting exercise in search of a theater class.
  7. A mix of gently outraged populism and low-powered romantic comedy, Vishal Bhardwaj's Matru ki Bijlee ka Mandola might have been better with a chunk lopped off its two-and-a-half-hour runtime.
  8. The movie covers almost three decades choppily. But Mr. Camarago and Mr. Miguel convey the stubborn commitment that made the brothers so revered by the tribes.
  9. Like its recent forerunners, "Rachel Getting Married" and "Margot at the Wedding," Another Happy Day is both anguished and histrionic and in its strongest moments very, very good. But it is also overpopulated, strident and constitutionally unable to step back and scrutinize itself.
  10. Mr. Garcia gives one of his sleeker dreamboat performances.
  11. The movie does have its own kind of blockheaded poetry.
  12. This film — the second from the Soskas, and shot in their hometown, Vancouver, British Columbia — combines gore, quiet dread, feminist conviction and a visual classicism, often using a red palette, with impressive, unbelabored dexterity.
  13. The five comedians known collectively as Broken Lizard have created a frat-house staple for the ages.
  14. Except for the piquant garnish of Mr. MacLachlan, the movie, written and directed by Ian Iqbal Rashid, is barely a cut above an amateur production. The attempts at humor fizzle, and the performances are wooden and overstated.
  15. The Last Days on Mars ultimately can’t transcend its pulpy roots.
  16. A loud, seemingly interminable, and altogether incoherent entry in the preposterous and proliferating “action-comedy” genre.
  17. Ms. Madsen, radiant and tousled, without a trace of narcissism, conveys maternal devotion, undaunted courage and a serene sensuality. Real, if idealized, grown-ups: We haven't seen them much in the movies lately, but here they are.
  18. While not especially good - judged strictly on its cinematic merits, it ranges from O.K. to god-awful - it is still a fascinating cultural document in the age of intelligent design.
  19. Proving once again that skillful performances can't create something out of almost nothing - the best they can do is make it palatable.
  20. But Mr. Penn mostly keeps a tight, impassioned grip on this material, preventing it from wandering too far afield. The influence of John Cassavetes is again clear in the characters' emotional sparring, which has energy and heart.
  21. White Nights is only tolerable when Mr. Baryshnikov is on screen, especially when he is dancing alone or with Mr. Hines, with whom he does a couple of ballet-tap numbers that are of an order of excellence that has nothing to do with the rest of the movie.
  22. Mr. Brooks's vision of ''Star Wars'' and its underlying silliness cannot help but wear thin. But Spaceballs has none of the aggressively unfunny humor that has marred some of Mr. Brooks's other recent efforts, and its spirits remain consistently high.
  23. Isn't quite as much fun as it could be.
  24. Some kind of equality has been achieved when it is impossible to distinguish heterosexual clichés from homosexual ones.
  25. She (Baur) has clearly earned the trust and respect of her subjects, the first qualification for any responsible documentarist, and they have repaid her with an intimate glimpse into their singular lives.
  26. It's as if the director, Andrew Fleming, and the screenwriters, Nat Mauldin and Ed Solomon, set out to make a movie that would be mediocre in every respect. If so, they have completely succeeded.
  27. Parsons himself might have written a surreal, funny-sad ballad about the aftermath of his own death, but Grand Theft Parsons is little more than a surreal anecdote, told in too much detail and without enough soul or imagination to make anything more than a footnote to a legend.
  28. Mr. Freeman projects a kindness, patience and canny intelligence that cut against the movie's fast pace and pumped-up shock effects. His performance is so measured it makes you want to believe in the movie much more than its gimmicky jerry-built plot ever permits.
  29. Preachy and pretty, Heaven is a classy-looking product with a vanilla flavor and a pastel palette.
  30. More tired than the fantasy it promotes, A Previous Engagement aims at middle-aged women with the subtlety of a pitch for bladder-control medication.
  31. It may be best to approach El Cantante less as a movie than as a two-hour promotional video for a must-have soundtrack album.
  32. As in the previous two installments of the Fast and Furious franchise, this largely consists of macho tantrums, vying for the girl, intense vehicular mayhem and high-octane homoeroticism.
  33. Harks back to the drive-in classics of yesteryear with unapologetic nostalgia and undisguised affection.
  34. Yes Man rarely rises to genuine hilarity. It takes no risks, finds no inspiration and settles, like its hero, into a dull, noncommittal middle ground. Should you see this movie? Maybe. Whatever. I don't care.
  35. Not much here is new, but condensing it all into one zippy documentary makes for an ugly portrait.
  36. Creepy, silly, startling, irritating, and black-vomit-and-multicolored-urine disgusting, The Oregonian wears out its welcome within 30 minutes.
  37. What could have been a moderately entertaining short film is yanked to intolerable lengths in Killing Bono, a shapeless rock-music caper that, like its deluded antihero, just doesn't know when to stop.
  38. A Chorus Line is less a movie than an expensive souvenir program.
  39. Plods along in its sloppy, joshing way, it tastes like pasta sauce that has sat on the shelf long after the expiration date on the can.
  40. A bubbling crockpot of farcical mush to warm the tummies of anyone who really and truly misses "The Brady Bunch," and I mean really and truly.
  41. Lame, long, ugly joke of a movie.
  42. Whenever the picture tries to be about something bigger, it turns predictable or maudlin or, in a few sad instances, both simultaneously.
  43. Everybody loves a David and Goliath story, and this one is told almost entirely from David's point of view.
  44. Banderas directs capably enough to keep the film lively.
  45. The buoyancy is only intermittent.
  46. Has a strained, unconvincing screenplay whose failure to connect the dots of its story suggests that it might have been largely improvised.
  47. The filmmakers try to balance pointed, often incisive satire and unabashed sweetness, with results that are sometimes bracing, sometimes baffling and quite often, and in unexpected ways, touching.
  48. The lack of narrative sophistication allows an Ecstasy-like disposition to set in; "Liberty" becomes goo-goo eyed over itself. It lacks the discipline to define Anna sufficiently; rather, it portrays her as either a lovable naïf or a spoiled narcissist in desperate need of a lesson.
  49. It is a sincere, thoughtful work, though not a very accomplished one.
  50. Represents something new under the sun: sincere camp.
  51. Bright, good-spirited and blissfully short.
  52. A sugarcoated romantic comedy that is just clever enough to make you wish it were three times as smart and only a third as sweet.
  53. Its frank good humor stands in sharp contrast with the strange combination of timidity and exploitiveness of more widely distributed recent teenage comedies.
  54. The film is as synthetic as a rubber rose, but it is all but indistinguishable from the organically grown, bred-in-Britain article.
  55. Any comedy that can combine death, abortion, Jewish ritual and a mariachi band without curdling into complete lunacy deserves a modicum of respect. In the case of My Mexican Shivah, more would be pushing it.
  56. Everything projects as if for the benefit of a nearsighted and dimwitted ticket holder at the back of the room. To his credit, Mr. Fickman has mastered one device unique to the cinema, making repeated use of the corny training montage.
  57. That Flipped isn't insufferably cute is a measure of its integrity. But it still strains to view the world through the eyes of children without a filter of grown-up cynicism. It is plodding and awkwardly paced.
  58. With slapstick smothering the scares, [REC 3] is further marred by a plot in which the muted Catholicism of its antecedents is turned up to full blast.
  59. It all leaves you pondering whether you have just seen a monumentally stupid movie or a brilliant movie about the nature and consequences of stupidity.
  60. Mr. Lurie's movie does not quite succeed on its own, though it is pulpy and brutal and at times grotesquely comical. The story does not cohere, and the performances are uneven. But as a piece of film criticism - as a conversation with, and interpretation of, an earlier film - it is intriguing.
  61. Lurches when it should glide, shouts when it should whisper and mumbles when it should sing.
  62. As a believer preaching to an audience of believers, he (Nalin) feels no need to offer proofs or anything even approaching a rational argument.
  63. A cinematic game that might be called Urban Creep Show, New York-style.
  64. It's instructive to compare Bully with Jean-Pierre Ameris's "Bad Company," which tackles similar themes and manages to be explicit without stooping to cheap salaciousness. It's a genuinely disturbing film. Bully, in contrast, is merely disgusting.
  65. Mr. Newell is master of the feel-good ensemble piece whose shallowness is partly masked by the expertise of a high-toned cast.
  66. Mr. Chandrasekhar's direction is casual to the point of carelessness, but he does give the movie a friendly, convivial atmosphere that contradicts and sometimes overcomes its frequently cruel humor. In short, this is another film that looks as if it was more fun to make than it is to sit through.
  67. With such plodding dialogue, there's little the actors can do to surmount the falsity, although Ms. Shaw, in her brief appearances, almost succeeds.
  68. Doesn’t seem as if it would translate easily to the big screen. It hasn't.
  69. There is plenty of nonsense, a great deal of stylish posturing and clothes-horsing, and a few action sequences that manage to be both gripping and preposterous.
  70. The kindest thing to be said about this deluxe photo spread of a film is that Sienna Miller's Edie and Guy Pearce's Andy capture their characters' images and body language with relative precision.
  71. It feels willed, aggressive and unconvincing -- clammy rather than cool -- in a way that suggests artistic frustration rather than discovery. The water shortage may be a metaphor for the director’s creative desiccation, which his admirers can only hope is temporary.
  72. An obscene, misanthropic go-for-broke satire, Pretty Persuasion is so gleefully nasty that the fact that it was even made and released is astonishing. Much of it is also extremely funny.
  73. May or may not appeal to fans of the Japanese fantasy franchise it is based on, but aficionados of apocalyptic teenybopper kung fu extravaganzas are in for a real treat.
  74. It is no wonder that the insufferable romantic comedy Happythankyoumoreplease, set in New York, looks and sounds like a flop pilot for a television sitcom.
    • 45 Metascore
    • 40 Critic Score
    Bland and only occasionally funny.
  75. Inspiring enough to make you wish that the filmmakers had reined in their sentimental excesses.
  76. Less sassy than shrill, more crass than clever, the maiden cartoon from the Weinstein Company turns the Little Red Riding Hood legend into a sub- "Shrek" bummer that appears to have been manufactured for the pleasure of tone-deaf kids with a thing for sarcasm, extreme sports, and Andy Dick.
  77. The storytelling and the visual style are rarely more than workmanlike, and the big scenes arrive punctually and are played with minimal nuance.
  78. The movie, by virtue of its self-conscious parody of the kind of movie it is, turns out to be an unusually smart and sensitive example of the genre.
  79. Evokes a mood of tenderness. Beyond that, it is a weightless, sentimental and intellectually lazy effort from an independent filmmaker whose movies seem increasingly insubstantial.
  80. This undiluted nonsense is best suited to DVD-rental desperation. Still, aficionados of cheap cinematic thrills involving beautiful and stupid young people will be happy to learn that while the film fizzles far more than it sizzles, its director, John Stockwell, is a connoisseur of the female backside, which he displays to great and frequent advantage.
  81. What ultimately sinks this stylish but heartless film is a flat lead performance by the eternally snippy Meg Ryan.
  82. It's a striking measure of the nervousness of the country right now that a movie so full of holes should be as gripping as it is, at least for its first two-thirds, after which it collapses into a swamp of sentimental mush.
  83. Its emotional climate is too extreme to invite identification, and its characters are too single-minded in their revenge to evoke pity, terror or even much interest.
  84. There is so much to admire in The Weight of Water, Kathryn Bigelow's churning screen adaptation of a novel by Anita Shreve, that when the movie finally collapses on itself late in the game, it leaves you in the frustrating position of having to pick up its scattered pieces and assemble them as best you can.
  85. The modestly assembled Love Object... is only periodically derailed by its tone; Mr. Parigi sometimes overplays the humor in the midst of all the deadpan.
  86. Mr. Rosenfeld is a writer whose talent shines through in the way he harvests minute pearls.
  87. Delhi-6 can be maddeningly vague, which robs its ending -- a finale as joltingly (melo)dramatic as any in Bollywood -- of the impact it intends.
  88. A raunchy romantic comedy that, like its heroine, rarely has both feet on the ground.
  89. Tasteful to a fault, Berlin 36 turns real-life controversy into disappointingly tepid drama.
  90. Jack & Diane offers a glaring example of a writer and director, Bradley Rust Gray, unable to trust in the simple strength of his material.
  91. The funniest parts of this uneven, ostentatiously upscale comedy are those that find Mr. Murphy's Marcus adopting the behavior of a sexually insecure woman.
  92. Whatever the case, The Invasion lurches and drags and teeters on the brink of death from scene to scene; it plays as if it had been made by someone in a trance, though not a cool one.
  93. The facetiousness of this project is charming at first -- as is the conceit of depicting the hunt for Mr. bin Laden using video-game animation -- but the charm wears off pretty quickly.
  94. Stylistically a formulaic, middle-drawer television movie about intergenerational strife and forgiveness. Every plot turn is groaningly predictable. But at least the lead performances set off sparks.
  95. Delectably vulgar for 20 minutes or so, almost too bad to be true, but because it lacks the demented conviction of real camp, the glint of madness that keeps a bauble like "Valley of the Dolls" afloat, it soon loses its cheap-thrills appeal.
  96. Not even the skillful performances of its stars, Susan Sarandon and Pierce Brosnan, playing the boy’s parents, can cover up the mysterious gaps in continuity of a screenplay whose thudding dialogue spells out every emotion while refusing to clarify many crucial plot details.
  97. The overall effect is distancing; there are some early comic moments that have you laughing along with the movie, but eventually the clashing tones and preposterousness just have you laughing.
  98. This existentially and aesthetically unnecessary sequel to the equally irrelevant if depressingly successful "Fantastic Four."

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